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Sunday, August 25, 2013

Hunting for Alfred Morang

Morning, Plaza in the snow - Alfred Morang

One of the most interesting Santa Fe artists of the last century was the late Alfred Morang. Morang is said to have, like Utrillo, fancied himself the last french impressionist, which is sort of funny since he never made it to France. His work favored barflies like Lautrec, and electric cats à la Van Gogh. His canvasses are typified by a heavy impasto and palette knife technique.

Morang arrived in Santa Fe from back east in 1937, looking for a better clime for his tuberculosis. He was a member of Raymond Jonson's Transcendental Painting Group. Other members of this group were Emil Bisttram, William Lumpkins, Florence Pierce, Horace Pierce, Stuart Walker, Dane Rudhyar, Lawren Harris and Agnes Pelton. The stated aim of the Transcendental Painting Group was "to defend, validate and promote abstract art." They sought to carry painting "beyond the appearance of the physical world, through new expressions of space, color, light and design."

The following is a brief biography on Morang from AskArt:

Alfred Morang grew up in Maine, learning to paint from the various artists who summered near his home. His formal education in the arts consisted of a MFA from Fremond University, where Alfred Morang studied in Caroll Tyson and Henry Snell.

Alfred Morang's early career was marked by an artistic restlessness that drove him to create in many media, not all of them visual. While living in Boston in the 1920s, Alfred Morang studied art and music, illustrated books and magazines, gave music lessons, and began work on a number of works of fiction, some of which would be published in the 1930s.

In 1938 Alfred Morang contracted tuberculosis, which prompted a move to Santa Fe, NM, a climate more hospitable to a man in his condition. While he recovered, he focused primarily on painting for the first time, with marked success. Along with Raymond Jonson, Emil Bisstram (sic) and William Lumpkins, Morang founded the Transcendental Painting Group, which strived to paint what could not be rendered visually.

The flowing, stretched iconography of Alfred Morang's paintings is vivid and challenging still today. His development as an artist continued until his tragic death in 1958 in a fire that burned down his Canyon Road studio.

Walt Wiggins wrote a good monograph on Morang titled Alfred Morang, Neglected Master. I have a copy laying around somewhere but I can't quite put my hands on it at the moment. One story in the book still sticks with me. A man went to visit Morang one winter day and Morang was so focussed on his painting that he didn't know that he had a visitor. He was a poor man and there were holes in the roof. The man was amazed to see a mountain of snow on top of Morang's chapeau as he stood there blissfully unaware and totally engrossed in his work.

I met a man named Paul Parker in Santa Fe who is an ardent admirer of Morang. He wrote the following story which he is graciously allowing me to share with you.

Hunting for Alfred Morang

I will always remember that cool rainy April day in Santa Fe. It was a perfect day for a visit to the library and I found myself seated in front of this antique microfilm viewer the size of a small refrigerator. I had loaded the reel containing the early 1958 issues of the Santa Fe New Mexican. I was not sure why I had this unremitting need to know more about Alfred Morang. I had first seen his work painted on the adobe walls across from the bar in El Farol on Canyon Road and in Maria’s on Cordova, but I know the real inspiration came from my good friend Jim Parsons in Taos. Jim was an art dealer and appraiser forever and a friend and mentor for 20 years. When he mentioned that Alfred Morang was one of his favorites I knew I needed to pay attention. It was like Willy Wonka telling me about one of his favorite chocolate bars. It helps that Alfred was such a compelling man, so well versed in music and literature as well as painting. He was one of the youngest persons ever to perform a solo violin concert in the prestigious Jordan Hall in Boston and he was also an accomplished writer. The London Times once called him one of America’s leading non-political short story writers. He was friends with Erskine Caldwell and his short stories and poems were published alongside Frost, Poe and Mark Twain. I do know the main reason I am so drawn to him is that his art touches me. Behind that art is Alfred’s story, his life experience and that is what drove him to create the art that Jim and I and many others enjoy so much.

There is a very sad part to his story and it is that part that drew me to the library. Alfred Morang died in a fire in his Canyon Road apartment studio on a cold January night at the age of 56. I had wanted to come here to the library and read the January 29, 1958 issue of the Santa Fe New Mexican for some time. I wanted to know the details, I wanted to read what people said, I wanted to know what page it was on and how big the article was. I was scrolling through the microfilm and as I started approaching the day he died I realized I was reading the papers that he probably read unaware he only had days to live.

The closer I got to the issue of the paper I had come to see the more time I took reading the articles and I even started reading the ads. I lingered the longest on Tuesday’s edition dated January 28, 1958. That was the last paper Alfred could have read.

There was an article on that day that I am sure must have caught Alfred’s eye and the headline read, “French Ballet loses Backing”. Alfred never made it to Paris, but his heart was there. His heroes were the French impressionists and he considered himself to be one of them. Monet and Bonnard were his favorites. The article explained that the French Education Ministry had withdrawn the government subsidy for the production of Francoise Sagan’s ballet “The Broken Date”. The ministry’s action followed a storm of protest. Apparently one dance was performed in a bathroom setting designed by painter Bernard Buffet and was described by some critics as scandalously erotic. I would like to have gone to Paris with Alfred and attended that performance. A French ballet with a bathroom setting designed by Bernard Buffet coupled with scandalously erotic, I am sure we both would have enjoyed that.

That Tuesday the Lensic was showing “Pal Joey” starring Rita Hayworth, Frank Sinatra and Kim Novak. Kaune’s was having a sale featuring Pork Chops at 59 cents a pound and Swanson’s Pot Pies at four for a dollar with your choice of chicken, turkey or beef. Cherry Motor’s at 607 Cerrillos Road had an ad for the new Rambler American for $1789. The ad proclaimed that one had been driven from New York to Los Angeles using only 80 gallons of gas averaging over 30 mpg. I remembered that time. One week before this ad ran I had celebrated my 12th birthday and becoming a teenager was in sight. Unlike today I was looking forward to getting older and that was the time I began thinking about cars. Chevrolet had just introduced the 283 V-8 a year earlier in the now iconic 1957 Chevy. The fuel economy push left over from the war was fading fast and the Plymouth Hemi and the “Little GTO” were on the horizon. The economical 6 cylinder Rambler American never had a chance.

I read every bit of that Tuesday’s paper. It was as if I felt that Alfred would be okay as long as I did not turn the page, but I knew it was time to see what I had come to see. I took a last look at the classifieds and marveled at an ad for a 2 bedroom adobe with wall to wall carpet “close in” for $16,500 and then I hit the button and watched the microfilm reel turn slowly.

The first thing I saw positioned on the top left side of the front page of that Wednesday edition of the Santa Fe New Mexican was a large photograph of a cat crouching on the corner of a charred mattress. The rest of the bed was strewn with papers and tubes of paint. Underneath the right half of the photo was a caption “Mourning for Her Master…This lonely cat was found wandering through the charred ruins of the home of her master Alfred Morang who died in the fire early this morning. The cat is on the bed where he died.” Morang’s friends had commented on his love of cats and noted that he often went hungry himself so he could afford to feed them. Two other cats perished in the fire with him. Unfortunately I discovered that the cat on the mattress in the picture had to be put down because her lungs were injured. There was also a picture of Alfred. A cigarette in a holder was hanging from the corner of his mouth dangling over his scraggly beard and he was wearing a black hat with a brim that was tilted slightly to the left making him look decidedly like an artist and decidedly French. The story next to the photo read “Well Known Artist Dies In Home Fire… Alfred Morang, 56, one of Santa Fe’s best known and most colorful Bohemians died at about 1:30 am last night in a tragic fire at his home in the 600 block of Canyon Road.” Friends reported they had last seen Alfred in Claude’s bar around midnight. His apartment was just up the alley out back.

Five days after the fire the New Mexican noted…“Funeral services were held Saturday at the Fairview Memorial Park Crematorium in Albuquerque for Alfred Morang, widely known Santa Fe artist, writer and critic who was burned to death early Wednesday morning in a fire at his home here. The body was escorted to Albuquerque by a group of close friends, including Randall Davey, Will Shuster, Harlan Lizer, Walter Dawley and William Currie. Alfred was transported in a Spanish Colonial coffin made by Abolonio Rodriguez, custodian of the art museum.”

Alfred was born in Ellsworth, Maine in 1901 and came to Santa Fe in 1937. Like many who came here he suffered from TB. He immediately became a fixture in the Santa Fe art scene. He wrote a weekly column for the newspaper and he produced a weekly radio program for 17 years on KTCR called “The World of Art with Alfred Morang.” Most of all he was famous for his enthusiasm for art and his ability to teach and many benefited from “The Morang School of Fine Art”.

Walt Wiggins authored a book published in 1979 appropriately titled “Alfred Morang…A Neglected Master”. Walt uncovered several quotes during his research for his book and my favorites include the following. “When Alfred Morang’s life came to a tragic end in January of 1958 nothing before or since has so shaken the New Mexico art colony. Some say it was a sense of guilt that struck the community for not having shown a greater sense of appreciation for one who, by destiny, was different.” One Santa Fe artist reasoned, “Why shouldn’t Santa Fe be stunned with the loss of Alfred? After all, he taught half of us how to paint and the other half how to see.”

The February 10th 1958 issue of the Santa Fe New Mexican carried the report of the local memorial service for Alfred in Lorraine Carr’s column “It Happened in Old Santa Fe”. Dr. Reginald Fisher, director of the Art Museum spoke first. “Friends this is not a funeral, we are simply gathered here for a creative expression of merit and appreciation of a spirit that has been active in an activity that we in Santa Fe like to call art. Alfred was an inventive, searching and daring spirit as French as Lautrec, yet he never saw Paris. Last week his restless spirit found peace.”

Painter and close friend Randall Davey was next. “I have known Alfred since he arrived back in 1937. He was a kind, a gentle and a humble soul and in all those years I never heard him speak unkindly of his fellow man. He was a great painter; many of you did not think so, because often he sold his work for a mere pittance through necessity. Nevertheless it was great art and the happiest work I have seen in New Mexico. He had a love and a delight for painting and I doubt that anyone will surpass him in this field.”

I hope Alfred enjoyed himself on that Tuesday. I hope he spent some time with friends and some extra time petting his cats. I hope he wrote another poem and put the final touches on his most recent favorite painting before he headed down the alley to Claude’s that evening.

Claude James ran the well known Canyon Road bar where he often spent time and, as legend has it, her rowdy spirit was just what was needed to run that place. I would love to have met Alfred there that fateful night for a few drinks. I’m sure we would have talked through the evening about art and life as we cast occasional glances at the ever present ladies that were often the subject of his paintings and when Claude said “It’s midnight, would you fellows like another one?” I would nod and say, how about a couple of shots of your best cognac. I would love to take a sip, lean back and turn to him and say “Alfred I know you often say that you don’t believe in art for art’s sake, but you believe in art for people’s sake. Can you explain to me what you mean by that, and please…take your time?”

A few weeks after I finished writing this story I found myself engrossed in the details of planning a trip to Paris. I was not sure why, but suddenly it came flooding over me with incredible clarity. Human life really is very fragile and it really is all going to come to an end someday and we do not know when. I knew then I needed to go to Paris and I needed to go now. Unfortunately most people have that epiphany too late in life. They start thinking about the things they never got to do after it’s too late to do them. I knew then that this sudden obsession with Paris was a message from Alfred. Paris was his promised land, but he never made it there and I was going to go for both of us.

I told a friend in Santa Fe this story and he said, “You should do something for Alfred in Paris.” It was a great idea, but what would I do? I had been in Paris 5 days when I suddenly knew. I found an image of a Morang painting on my laptop. I printed it and wrote a bit on the back about Alfred and headed off to the Musee d’Orsay. This time as I enjoyed the paintings I was also searching for a repository for Alfred’s work and I finally found it. I can tell you that a fine example of the genius of Alfred Morang now has a home in Musee d’Orsay on the banks of the Seine and it will take a jackhammer to find it. He is close to Monet and Bonnard, the masters he so admired. Alfred, you finally made it.

1 comment:

Anonymous
said...

Thanks Robert. There are a couple of oft repeated errors regarding the Transcendental Painting Group membership that I wanted to let you know about. The piece you quoted, referring to Alfred said, "He was a member of Raymond Jonson's Transcendental Painting Group. Other members of this group were Emil Bisttram, William Lumpkins, Florence Pierce, Horace Pierce, Stuart Walker, Dane Rudhyar, Lawren Harris and Agnes Pelton."

Actually Alfred Morang and Dane Rudhyar were not members of the TPG, but rather Morang was Publicity Director and Rudhyar was VP of the American Foundation for Transcendental Painting. This organization was involved with administrative and promotional activities for the TPG. The piece you quoted also left out a couple of members. The members of the Transcendental Painting Group were Raymond Jonson, Emil Bisttram, William Lumpkins, Florence Pierce, Horace Pierce, Stuart Walker, Lawren Harris, Agnes Pelton along with Ed Garman and Robert Gribbroek.

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